WeirdMusic.net

The Only place
to find Original Music

WeirdMusic.net - Alex Ross-Iver

ARTIST INFO:

WeirdMusic.net Magazine's new avantgarde-sex symbol and One of the only few Eastern European artists to ever achieve success outside of his home country, Alex started his international career as the founder of “AlexPopcom!”, the world's most Eccentric electro-indie one-man-band. Alex's experimental 'anti-serious' melodies and introspective pseudo-lyrics are catchy enough to stay with you all day/night -> Download Mp3s on iTunes & Amazon )....

"...In a world dominated by one dimensional pop music, Alex Ross-Iver defines everything that a music maverick should epitomise. His soul mates are the likes of Brian Eno, Phillip Glass, The Knife, Kraftwerk, Yello, through to Yonderboi and La Dusselldorf. In fact pretty much anything that doesn't fit neatly into a packaged music box that makes the listener feel comfortable and at ease. Alex Ross-Iver truly pushes the boundaries of experimentalism.

It was his pulsating experimentalism and thought provokingly complex musical compositions which came to the attention of two equally maverick musicians. The Icelandic pair of Gisli Kristjansson, part of the hugely successful Waterfall production team out of Norway and a Number 1 hit maker in his own right, and the wonderfully talented Eliza Newman, whose band, Bellatrix, gained huge critical acclaim releasing albums on Bjork's , 'Bad Taste' label, turning her into one of Scandinavia's most talked about and sought after vocalists. Together they tracked Alex Ross-Iver down and asked if they could create a soundscape for one of his most complex tracks, 'Haused 2'. A track that if it were a book many would say it was impossible to turn it into a movie!

Nevertheless, Gisli, Eliza and Alex have ended up creating a track which takes the listener on a magical mystery tour of their imaginations. ‘Fire Inside' captures a feeling of tripping through clouds, chased by a Bond villain, finally ending up landing on an ice cap of emotion with a breathless vocal that oozes passion and dreams!

This track embraces all the most magical elements of pop and avant garde experimentalism and will set Alex Ross-Iver on the road to finally translating success in the UK for a composer of thought provoking music that runs contrary to musical trends and passing fashions " - MusicCrown Magazine

Gisli is an Icelandic solo musician, singer-songwriter and multi-instrumentalist now operating in London, UK. His brand of pop-rock has been likened to, amongst others, Beck . His second album, Build-Ups And Break-Downs , was recently released on EMI . Gisli has also produced and written songs for other artists including Norwegian artist Anja Garbarek . Her album Briefly shaking was co-written/produced by Gisli and later picked up by French director Luc Besson for use in his movie Angel-A .

Together, both releases provide the public with a wide-ranging view of Ross-Iver's work during the 1990s, and chronicle his outstanding
evolution from fledgling songwriter to one of the world's most
inventive and eccentric recording artists:

In"Duplicity" and "Yellow One", the artist weaves together chopped up
and transformed vocal lines over a sensual percussion section, that
while initially seem to work in utter contradiction, create what might

Together, both releases provide the public with a wide-ranging view of Ross-Iver's work during the 1990s, and chronicle his outstanding evolution from fledgling songwriter to one of the world's most
inventive and eccentric recording artists...

"...If there is one word to accurately describe Alex Ross-Iver, it is busy. This individual has cut over 500 tracks since ey got into the music scene at the age of five, and this "greatest hits" collection sports 27 separate tracks. However, just because someone has 500 tracks to their name does not necessarily mean that any of the tracks are particularly exciting. A sterling case of that concerns Steve Lieberman, who is up to eir 11th or so full length, and only can claim an album's worth of strong tracks throughout eir career. Unlike Lieberman or Mizar, Alex Ross-Iver has a very high set of production values that start off tracks like "Wacky Jacky"... This does not change in subsequent tracks, and by the time tracks like "Latin" hit listeners, one can almost hear a cohesive album being created. This sound is something that is bolstered with each following track, even as Alex moves between different styles , tempos, and instruments used. The one act that immediately reminds me of what Alex Ross-Iver does on this best of CD has to be Wired All Wrong, which is an act that had a member of "God Lives Underwater" in it. Ross-Iver is able to jump through a number of different styles throughout the entirety of this disc, and it never feels as if ey is trying to throw crap on a wall and sees what sticks. "Will I Be The Best in Berklee" is one of the strongest tracks on the disc, as it brings Alex Ross-Iver into a very eighties type of electronic rock, almost as if Nine Inch Nails mated with Depeche Mode. The pseudo-soul sound of Ross-Iver comes back heavily during "Cin! Find Me A Small Car!". This track also changes up the output of Ross-Iver by having the vocals sound as if they have been screwed and chopped. I am not familiar with what Ross-Iver has done in the past beyond the tracks culled from eir previous works on this album, but this CD sounds as good of a place to go to learn about Ross-Iver than anything. Even though the tracks are all odd when one compares them to the rest of popular music, there is a lot here than individuals can find that they can love about Ross-Iver. Part Wendy Carlos, part Berry White, Ross-Iver has a number of tricks up eir sleeve to properly get fans to eat out of eir pocket.

Top Tracks : Will I Be The Best in Berklee, Cin! Find Me A Small Car!..." (Download Mp3s from: iTunes , Amazon.com )

--

"…Imagine a few friends sitting around and trying to find really weird sounds to include on a mix tape and you have Alex Ross-Iver's "Best 2001-2005" album. This album seems to sample every weird beat line and synthesizer tone known to man…. Listening to the entire album, I don't think I heard Ross-Iver's actual voice once. He used vocal distortion on almost every song, mixing in bits of house and techno aspects. A bright note, "Permanent Cooky Loves U"sums up this entire album with a really cool baseline, cool techno aspects and a great beat… but then comes the primal singing of Cro-Magnon man… In summing everything up, I am still having a hard time deciding whether Ross-Iver is ahead of his time or has just tried too many drugs… " – Tim Williams/Music-Reviewer.com

CHORUS/Verse:
I've say:" houp my wow day to get my bury soul; meet my bass and man of a dowse to get my fairy joule.
Per papapapapape basses pet be o' many low, live my parapet "paralala" lies as the "totototouuuuh" !

Verse/Chorus
Star! You'll see me a long a sky, days made me only one, as all in you're by...

Chorus ( Chorus/Verse ):
Oh! May be you and I get me until and that's possible a life for irk
I know: I get you! Will be a "My only foot 17 college",
I know: you get me a wrong to be I elevator to counter,
I know: I cover "I - Rish" on a world to be awful and lets to be dabbler - hater.

"A ( get the A today)"

Verse 1 :
"A" is what you play today,
"A" has got a way to get me on,
I didn't get the: "Why", I didn't get the: "Why",
I could never cry - I tell you why :

Chorus
Get the "A" today - don't let it die !
Get the play today - don't let it cry.
Get the "A" today - don't let it die !
Get the play today - don't let it cry

Verse 2
"A" - I ever had to wait !
"A" - has got the name to hate !
"A" - has got the way to live me gone !
I didn't get the: "Why", I didn't get the: "Why",
I could never cry - I tell you why :

Chorus
Get the a today don't let it die !
Get the play today - don't let it cry.
Get the a today don't let it die !
Get the play today - don't let it cry
Bridge

Chorus/ending

"Will I be the Best in Berklee ?"

VERSE 1:
Since I was Born/(burn) I wanted to be (the) "Best in Berklee !(?)"
Cause my Real name Is: "Freaky Person BERK LEE".
So…Will I be? So will I be " The Best in Berklee ?"
I Really Wanna be !!! Really Wanna be yeah!

CHORUS:
Will I be the Best in BerkLee ? (4 times)
VERSE 2:
Since I was Turn, I wanted to be Fast in Bandy,
Cause my real flame is not so good as Can be,
That means I'll be, I'll bill the Fat and Gently,
I really wanna be,wanna be ! yeah !

CHORUS:
Will I be the Best in BerkLee ? (4 times)
BRIDGE:
I know that December is One, and not the Only one & "Since I was born I wanted to be Best in Berkley" as the back vocal
CHORUS:
Will I be the Best in BerkLee ? (4 times)
Berk Lee ! Wow ! Wow ! Berklee ! (2 times)

Verse 1 :
Vocoder:
Always been attractive !
Always been reactive !
I never get you, cause selfish right to get you
So I love the that way I missed,
I know I can say that - that you love me - please !
but I know you like it cause you are united !

Pre Chorus:
I've never be a a "man/mad girl" (what does it mean ?)
I've never been a boyfriend like I couldn't be

Chorus:
Why did I ? I pain you more than I did (lighting)
Until that I hold the light (lay/lain),Hold the light (lay/lain)
Why did I ? I pain you more than I did (lighting),
Until that I hold the light (lay/lain),Hold the light (lay/lain)

a...c....a...c.. why....why... b

Verse 2
Vocoder:
Never say objective !
Never been reactive !
"Die" never get me (hold me) only want to say you meat me
I like day you want me - never say I'm wrong to get me
But I love you get me - say you all the way.

Pre Chorus:
I've never be a a "man/mad girl" (what does it mean ?)
I've never been a boyfriend like I couldn't be..

Chorus:
Why did I ? I pain you more than I did (lighting)
Until that I hold the light (lay/lain) ,Hold the light (lay/lain)
Why did I ? I pain you more than I did (lighting)
Until that I hold the light (lay/lain), Hold the light (lay/lain)

Verse 1:
Vocoder:
You say hope I was not related to be an employment to stop (start),
She got names on a bring allocated -I know why you get me start
You know I was wrong to be gentle of art man and never forget the past
But you never, never say: "I'm sorry!" when you get the past but:
Chorus:
You always say:
"I was wrong to be gentleman - never belong to you",
Say I was wrong I/die was wrong 2 be gentleman - I was belong: "To do"
And you want be free, and you want be get, and you want be set,
Sad I ever wanted to be in your bed (bet)
Verse 2
Vocoder:
You say you love me, you never get boy
I never had a little time to call me, but I never live you when I eke to keel me
But I never live you when I eke to get
You say you love me, you never get boy
I never had a little time to call me, but I never live you when I eke to keel me
But I never live you when I eke to get
Chorus:
You always say:
"I was wrong to be gentleman - never belong to you",
Say I was wrong I/die was wrong 2 be gentleman - I was belong: "To do"
You always say:
"I was wrong to be gentleman - never belong to you",
Say I was wrong I/die was wrong 2 be gentleman - I was belong: "To do"

"Forum Song"

VERSE
I know that you trust me: every day & every night
I know that you want to be with me - every day and night.
Night….night….

CHORUS
And you will say that: "I'm a man who wants to be with you"
And you will tell me: "I'm not the man who wants to: be with you, save your soul, write the song"
Tell me where to go now?

Music tracks, Lyrics and audio content on this website may not be copied, distributed, sold, used in any commercial or non-commercial production, published or transmitted under any circumstances without prior license agreement and written permission.

--

PS: ATTN FANS ! READ + SHARE:

Common Examples of Online Copyright Infringement:

You make an MP3 copy of a song because the CD you bought expressly permits you to do so. But then you put your MP3 copy on the Internet, using a file-sharing network, so that millions of other people can download it.
Even if ... you don't illegally offer recordings to others, you join a file-sharing network and download unauthorized copies of all the copyrighted music you want for free from the computers of other network members.
In order to gain access to copyrighted music on the computers of other network members, you pay a fee to join a file-sharing network that isn't authorized to distribute or make copies of copyrighted music. Then you download unauthorized copies of all the music you want.
You transfer copyrighted music using an instant messenging service.
You have a computer with a CD burner, which you use to burn copies of music you have downloaded onto writable CDs for all of your friends.
Somebody you don't even know e-mails you a copy of a copyrighted song and then you turn around and e-mail copies to all of your friends.

Do The Crime, Do The Time

If you do not have legal permission, and you go ahead and copy or distribute copyrighted music anyway, you can be prosecuted in criminal court and/or sued for damages in civil court.

Criminal penalties for first-time offenders can be as high as five years in prison and $250,000 in fines.
Civil penalties can run into many thousands of dollars in damages and legal fees. The minimum penalty is $750 per song.

Lo-fi music

From Wikipedia, the free encyclopedia

Lo-fi (from the term " Low fidelity ") is a term used to describe music in which the sound is of a lower quality than the usual standard. The qualities of lo-fi are usually achieved by either degrading the quality of the recorded audio, or using certain equipment. Recent uses of the phrase have led to it becoming a genre, although it still remains as an aesthetic in music recording practice. Many lo-fi artists use inexpensive cassette tape recorders. The term was adopted by WFMU DJ William Berger who dedicated a half hour segment of his program to home recorded music throughout the late '80s under the name Lo-fi.

Contents

Pre-1980s

Lo-fi's roots can be dated as far back as a set of live cylinder recordings created in 1900–04 by Lionel Mapleson from a catwalk 40 ft (12 m) above the stage of the Metropolitan Opera . The sound quality of these " Mapleson Cylinders " is very poor (more so since they are one-of-a-kind artifacts that have been further worn down by being played over the last century); the aesthetic quality, though, partakes in the electric [ citation needed ] , authentic feeling of an unedited event being captured in real time. In the same historical period, commercial field recordings of folk music had begun to be created in many nations of the world, recorded catch-as-catch-can by early record producers such as Fred Gaisberg of HMV . The description of "lo-fi", however, would be slightly amiss, since the recordists used the best available equipment of the era in order to capture and reproduce the sound as faithfully as possible. With technology being what it was however, the resulting recordings would be considered quite crude, or "low-fidelity", by today's standards.

In a later era, Buddy Holly recorded some songs in a converted garage. Some posthumous Hank Williams demos were also overdubbed for commercial release. However, it was not until Bob Dylan decided in 1975 to officially release a set of The Basement Tapes , first recorded as music publisher demos in 1967, that the first lo-fi pop music milestone was reached. The music was really not originally intended for general release, the recordings, made on a consumer-quality Ampex quarter-track machine with two microphones set up for "dual mono", made a virtue of their flaws; with their asides, laughter and unselfconscious looseness, they defined the authenticity of the lo-fi experience. As a historical matter, in the years between the production and the official release, the popularity of these particular recordings also created the first market for pop bootleg records , which as a listening experience came to include seemingly every scrap of certain rock artists' off-the-cuff and unreleased work, including home recordings. Seminal early examples of this were the 1976 home-made debut album Phonography by pioneer DIY popster R. Stevie Moore and the 1976 debut album Carcass by lo-fi pioneer Sean Terrington Wright . Also, famed songwriter Lou Reed produced a version of the self-titled 3rd album by his band, The Velvet Underground . Its lo-fi, cramped sound became known as the closet mix. It was highly influential to up-and-coming indie lo-fi groups.

Lo-fi recordings became more commonly heard in the late seventies to early eighties with many electronic acts. In Monte A. Melnick's biographical book, On The Road with the Ramones , Thomas Erdelyi considers the band's first record to be a "great lo-fi album." Suicide 's debut album is a large collection of Lo-fi classics, which Bruce Springsteen took inspiration from on his 1982 lo-fi album Nebraska . Other classic lo-fi's to appear around this time include Throbbing Gristle 's "United", Thomas Leer 's "Private Plane", The Normal 's TVOD/Warm Leatherette single, and The Human League 's "Being Boiled". Another UK classic Lo-fi band is the Young Marble Giants .

Often lo-fi artists will record on old or poor recording equipment, ostensibly out of financial necessity but also due to the unique aural association such technologies have with "authenticity", an association created in listeners by exposure to years of demo, bootleg, and field recordings, as well as to older pop studio recordings produced more simply. The growth in lo-fi coincided with the growth of extreme slickness and polish associated with the multitrack pop recording techniques of the 1980s. Lo-fi can therefore been seen as a counterculture movement, though exponents rarely identify themselves with any political persuasion.

The black metal genre embraced the lo-fi idea during the late 1980s and early 1990s as it strived to distance itself from pop music. Most bands recorded their albums on extremely low budgets, using four-track recorders and any other equipment they could use. The greatest example is the Darkthrone album Transilvanian Hunger , though almost all of their albums have an intentionally "lo-fi" sound quality. The band started as a clean , well produced technical death metal band before evolving their style and almost singlehandedly producing the low quality production style that would become common place in the black metal scene. Varg Vikernes of Black Metal band Burzum was also known to purposely use extremely lo-fi recording techniques on his albums. On the album Filosofem , Varg was said to have intentionally asked a local store for the cheapest microphone they had, and they sold him a headset , which he used to record vocals on the album. For guitar he was said to have used a distortion pedal to drive a stereo receiver , which made the extremely fuzzy, buzzing guitar tone found on the album. The term "raw" is generally preferred to "lo-fi" in black metal circles.

There is also an even newer trend of Lo-fi Goth bands, which incorporate influence from noise music , deathrock , new wave , and hardcore punk . This scene grew out of an influx of ex-deathrock revivalists into the indie music scene.

Digital Lo-fi

Lo-fi music can also refer to low fidelity music created with low end synths, 8-bit computers, and circuit bending .